A first-time exhibitor at Art Paris, the curator-led Galerie Bao (founded by Lê Thiên-Bảo) engages with the theme of Réparations, exploring repair as a way to restore what once seemed lost. Recognised for a decade-long commitment to contemporary art from Vietnam and Southeast Asia, the gallery presents Trương Công Tùng’s Day Wanes, Night Waxes (2025 – ongoing), recently shown at Hamburger Kunsthalle. Tùng is show alongside Lêna Bùi’s Clean Land (2024), rubbings of cut tree trunks superimposed onto silk paintings and watercolours, drawing from Taoism, animism, and the observation of living things. Finally, a striking selection of sculptures by Nguyễn Duy Mạnh, inspired by 14th to 19th century Vietnamese ceramics, reflecting on vulnerability and what he describes as the “disintegration of values and culture.” par The Cold Magazine

Trương Công Tùng, is taking part in the third edition of the Diriyah Contemporary Art Biennal « Interludes and Transition » (Saudi Arabia) led by artistic directors Nora Razian and Sabih Ahmed. He is exhibited alongside over 70 artists from all around the world, working across disciplines such as  sound and performance to moving image, architecture and research. Theirs projects will be shown from 30 January to 23 April 2026.

Phan Quang, represented by Galerie Bao (Paris), is nominated for the 2026 Discovery Prize, by the Fondation Louis Roederer, at Rencontres d’Arles (France), alongside Souleymane Bachir Diaw, Jordan Beal, Amira Lamti, Mallory Lowe Mpoka, Magali Paulin and Charlotte Yonga. Their projects are curated by guest curator Nadine Hounkpatin and will be exhibited at the next edition of the 2026 Rencontres d’Arles, from 6 July to 4 October 2026.

PARIS — “Go ahead, feel them!” gallerist Lê Thiên-Bảo encouraged visitors to her booth at Asia Now fair. Emboldened by her enthusiasm, I broke the well-worn rule of not touching artworks and caressed the fleshy ceramics of Vietnamese artist Hà My Nguyễn. Inside the grand halls of La Monnaie de Paris, just steps from the Louvre, the fair’s mood remained undisturbed by the museum’s recent brazen heist, which has shaken the country…

Après avoir traversé un couloir, on se retrouve dans la cour d’Honneur de l’institution, habitée pour les prochains jours d’une grande tente blanche et d’un buffet-bar. Dès l’entrée de ce pavillon, le regard se pose sur les sculptures en céramique d’Ha My Nguyen présentées par la Galerie Bao (stand H12).

Sur des murs tapissés de velours noir, ses créations blanches détonnent et intriguent…

Hằng Hằng calls her installation a “garden”. The word feels familiar, reassuring, but nothing here resembles a place of greenery or rest. The gallery is immersed in an intense saturated chroma-blue, the very same blue once used for video backdrops. One feels that everything here could be erased, replaced, rewritten. - by Stéphane Degoutin

Lancée cette année, la foire répond à un objectif de longue haleine : « dévoiler la diversité de la création en Amérique Latine », martèle Manuela Rayo, fondatrice de Mira. Du 18 au 22 septembre, une vingtaine de galeries se sont retrouvées à la maison de l’Amérique latine, dont certaines ayant une forte présence à l’international, comme Continua. La manifestation fédérait aussi plusieurs enseignes latino-américaines réputées pour leur programmation pointue, à l’instar de Proyectos Monclova (Mexique) ou El Apartamento (Cuba, Madrid). - par Alison Moss

“Across the highlands of Vietnam, gourds have stored water, made music, and inspired legends for centuries.1 In his travelling solo show, Truong Cong Tung finds yet another use for these sinuous plants…” - review by Max Crosbie-Jones

“How should we live in a world where our being is inextricably bound up in the deaths of others? What does it mean to situate oneself within a cycle of exchange, rather than at the apex of a hierarchical food chain?” - essay by Blake Palmer